1926
Except otherwise stated, all results include the premium.
See also : O'Keeffe Chagall Early Magritte Illustration art Jewels II
See also : O'Keeffe Chagall Early Magritte Illustration art Jewels II
MAGRITTE
Intro
The early career of René Magritte (1898–1967) laid the foundation for his iconic Surrealist style. In 1921, the young artist was hired as a draftsman in a wallpaper factory in Brussels. He frequented Surrealist and Dadaist literary circles and aspired to independence as an advertising illustrator.
Deeply attentive to avant-garde art, Magritte was profoundly influenced in 1923 by Giorgio de Chirico's The Song of Love (1914), a Surrealist work featuring ordinary objects arranged in absurd, poetic ways. Inspired by de Chirico's irrational, antique-inspired scenes set in ordinary surroundings, Magritte began transposing similar enigmatic juxtapositions into his own work.
In 1926, Brussels' Galerie Le Centaure invited Magritte to prepare paintings for his first solo exhibition, scheduled for April and May 1927. Under contract with the gallery (which allowed him to paint full-time), he created his own surreal world, where bilboquets (wooden cup-and-ball toys) became main characters. In this body of work—comprising 49 paintings and 12 papiers collés (collages)—Magritte questioned human nature, often reducing figures to fragmented or cut-out organs. He simplified his drawing style so objects were immediately recognizable, heightening the bizarre impact of their illogical interactions.
The exhibition at Galerie Le Centaure (April 23–May 3, 1927) marked a pivotal milestone in Magritte's transition to Surrealism. It featured around 29 oil paintings and 12 collages/papiers collés, all created primarily from January 1926 to early 1927. Iconic early Surrealist pieces included:
Auction insights for Magritte's 1926–1927 works highlight their modern revaluation. In 1927, original sales were minimal or nonexistent (likely modest private gallery prices in Belgian francs, equivalent to low thousands in today's USD if any occurred). Surviving pieces from this early Surrealist phase are rare at auction due to museum holdings and private collections.Notable recent results include:
Deeply attentive to avant-garde art, Magritte was profoundly influenced in 1923 by Giorgio de Chirico's The Song of Love (1914), a Surrealist work featuring ordinary objects arranged in absurd, poetic ways. Inspired by de Chirico's irrational, antique-inspired scenes set in ordinary surroundings, Magritte began transposing similar enigmatic juxtapositions into his own work.
In 1926, Brussels' Galerie Le Centaure invited Magritte to prepare paintings for his first solo exhibition, scheduled for April and May 1927. Under contract with the gallery (which allowed him to paint full-time), he created his own surreal world, where bilboquets (wooden cup-and-ball toys) became main characters. In this body of work—comprising 49 paintings and 12 papiers collés (collages)—Magritte questioned human nature, often reducing figures to fragmented or cut-out organs. He simplified his drawing style so objects were immediately recognizable, heightening the bizarre impact of their illogical interactions.
The exhibition at Galerie Le Centaure (April 23–May 3, 1927) marked a pivotal milestone in Magritte's transition to Surrealism. It featured around 29 oil paintings and 12 collages/papiers collés, all created primarily from January 1926 to early 1927. Iconic early Surrealist pieces included:
- Le Jockey perdu (The Lost Jockey, 1926) — often displayed in the window as a flagship work.
- L'Assassin menacé (The Menaced Assassin, 1927) — one of his largest and most theatrical compositions.
- L'Oasis (1926, oil on canvas) — a landmark piece showing trees in a desert surrounded by clouds.
- Le Groupe silencieux (The Silent Group, 1926).
- Primevère (and related motifs).
Auction insights for Magritte's 1926–1927 works highlight their modern revaluation. In 1927, original sales were minimal or nonexistent (likely modest private gallery prices in Belgian francs, equivalent to low thousands in today's USD if any occurred). Surviving pieces from this early Surrealist phase are rare at auction due to museum holdings and private collections.Notable recent results include:
- L'Oasis (1926): Sold at Christie's for £ 3.1M on February 27, 2018.
- Le Groupe silencieux (1926): see below.
- Related 1926–1927 motifs (e.g., gouaches or variants like Le Jockey perdu): see below
1
masterpiece
1926 Le Jockey Perdu
private collection
Le Jockey perdu is an early masterpiece by René Magritte, starting in 1926 with a pencil on paper followed in the same year by some mixed techniques and one oil paintong.
Asking Grok to assess the importance of that theme in the career of the artist.
Visual Description
Seminal : A jockey races on horseback through a theatrical, staged forest of bilboquet-trees (turned posts resembling chess pieces or instruments, engraved with musical notes); framed by curtains, with sheet music ground for a static yet dynamic effect; artificial and paradoxical, emphasizing immobility amid motion.
Importance of the "Le Jockey Perdu" Theme in René Magritte's Career
The theme of "Le Jockey Perdu" (The Lost Jockey) holds a pivotal place in René Magritte's oeuvre, marking his definitive entry into Surrealism and serving as a recurring motif that he revisited over nearly four decades. Created in 1926, it was Magritte's first fully realized Surrealist work, representing a breakthrough after his earlier experiments with abstraction, Cubism, and Futurism. Inspired by Max Ernst's collages and Giorgio de Chirico's metaphysical paintings (particularly Le chant d'amour), Magritte used the image to juxtapose everyday elements in absurd, dreamlike contexts, challenging perceptions of reality and evoking mystery through paradoxes like speed versus stillness, concealment versus revelation, and interior versus exterior spaces.
Magritte himself described the 1926 version as the moment he "found [his] way," solidifying his style of poetic displacement where ordinary objects "shriek out loud." The motif's debut coincided with his first solo exhibition in Brussels in 1927, where critics panned his work but it gained international notice as his inaugural Surrealist piece reproduced abroad. Its enduring importance is evident in Magritte's repeated returns to it—creating versions in 1927, 1942, 1947-48, and up to 1964—making it one of his most iconic and atypical subjects, often scaled larger over time to reflect personal evolution. The jockey, lost amid bilboquet (cup-and-ball) forms resembling trees, symbolizes alienation and the absurd, themes central to Magritte's critique of the mundane. Elements like stage curtains (possibly from his theater set design work) and musical notations (a nod to composer E.L.T. Mesens) add layers of personal and artistic reference. This theme not only launched his Surrealist phase but persisted through stylistic shifts, including his wartime "vache" period, underscoring its role as a cornerstone of his mysterious, thought-provoking art.
Visual Description
A jockey races on horseback through a theatrical, staged forest of bilboquet-trees (turned posts resembling chess pieces or instruments, engraved with musical notes); framed by curtains, with sheet music ground for a static yet dynamic effect; artificial and paradoxical, emphasizing immobility amid motion.
Asking Grok to assess the importance of that theme in the career of the artist.
Visual Description
Seminal : A jockey races on horseback through a theatrical, staged forest of bilboquet-trees (turned posts resembling chess pieces or instruments, engraved with musical notes); framed by curtains, with sheet music ground for a static yet dynamic effect; artificial and paradoxical, emphasizing immobility amid motion.
Importance of the "Le Jockey Perdu" Theme in René Magritte's Career
The theme of "Le Jockey Perdu" (The Lost Jockey) holds a pivotal place in René Magritte's oeuvre, marking his definitive entry into Surrealism and serving as a recurring motif that he revisited over nearly four decades. Created in 1926, it was Magritte's first fully realized Surrealist work, representing a breakthrough after his earlier experiments with abstraction, Cubism, and Futurism. Inspired by Max Ernst's collages and Giorgio de Chirico's metaphysical paintings (particularly Le chant d'amour), Magritte used the image to juxtapose everyday elements in absurd, dreamlike contexts, challenging perceptions of reality and evoking mystery through paradoxes like speed versus stillness, concealment versus revelation, and interior versus exterior spaces.
Magritte himself described the 1926 version as the moment he "found [his] way," solidifying his style of poetic displacement where ordinary objects "shriek out loud." The motif's debut coincided with his first solo exhibition in Brussels in 1927, where critics panned his work but it gained international notice as his inaugural Surrealist piece reproduced abroad. Its enduring importance is evident in Magritte's repeated returns to it—creating versions in 1927, 1942, 1947-48, and up to 1964—making it one of his most iconic and atypical subjects, often scaled larger over time to reflect personal evolution. The jockey, lost amid bilboquet (cup-and-ball) forms resembling trees, symbolizes alienation and the absurd, themes central to Magritte's critique of the mundane. Elements like stage curtains (possibly from his theater set design work) and musical notations (a nod to composer E.L.T. Mesens) add layers of personal and artistic reference. This theme not only launched his Surrealist phase but persisted through stylistic shifts, including his wartime "vache" period, underscoring its role as a cornerstone of his mysterious, thought-provoking art.
Visual Description
A jockey races on horseback through a theatrical, staged forest of bilboquet-trees (turned posts resembling chess pieces or instruments, engraved with musical notes); framed by curtains, with sheet music ground for a static yet dynamic effect; artificial and paradoxical, emphasizing immobility amid motion.
2
1926 Le Groupe Silencieux
2018 SOLD for £ 7.2M by Christie's
In 1921 the young René Magritte is hired as a draftsman in a wallpaper factory in Brussels. He frequents Surrealist and Dadaist literary circles and would like to become independent as an advertising illustrator.
Attentive to avant-garde art, Magritte is subjugated in 1923 by an image of the Canto d'amore, a surrealist work painted in 1914 by De Chirico. Ordinary objects constitute a poetic universe if their positioning is absurd. He transposes in an ordinary surrounding the irrational and antique-inspired scenes by De Chirico.
In 1926 in Brussels the Galerie Le Centaure invites René Magritte to prepare paintings for his first solo exhibition to be held in April and May of the next year. The young artist builds his own surreal world where the main characters are bilboquets.
In this set of 49 paintings and 12 papiers collés, Magritte questions the nature of the human being, often limited to several cut organs. He simplifies his drawing so that the objects are immediately recognizable, making their interactions even more bizarre.
Visitors are not interested in his intentionally illogical vision of the world. In August 1927 Magritte joined the surrealist group in Paris where the audience was also reluctant. Returning to Brussels in 1930 he exploited through four decades his original idea of the incongruous relations between disparate objects.
Le Groupe silencieux, oil on canvas 120 x 80 cm painted in 1926, was the no. 9 at Le Centaure in 1927.
The walls of the room are pink, the color of the female nude which also excites Magritte at that time. An almost complete humanoid silhouette is a thick cropped board. Three eyes are folded on the edges of a flesh-colored cube in an iconography that anticipates Dali's soft watches.
Art did not escape this grotesque setting with the image of a castle that dissolves in the curtain and a large landscape painting carelessly leaning against the wall on the left.
It was sold for £ 7.2M by Christie's on February 27, 2018, lot 107.
Attentive to avant-garde art, Magritte is subjugated in 1923 by an image of the Canto d'amore, a surrealist work painted in 1914 by De Chirico. Ordinary objects constitute a poetic universe if their positioning is absurd. He transposes in an ordinary surrounding the irrational and antique-inspired scenes by De Chirico.
In 1926 in Brussels the Galerie Le Centaure invites René Magritte to prepare paintings for his first solo exhibition to be held in April and May of the next year. The young artist builds his own surreal world where the main characters are bilboquets.
In this set of 49 paintings and 12 papiers collés, Magritte questions the nature of the human being, often limited to several cut organs. He simplifies his drawing so that the objects are immediately recognizable, making their interactions even more bizarre.
Visitors are not interested in his intentionally illogical vision of the world. In August 1927 Magritte joined the surrealist group in Paris where the audience was also reluctant. Returning to Brussels in 1930 he exploited through four decades his original idea of the incongruous relations between disparate objects.
Le Groupe silencieux, oil on canvas 120 x 80 cm painted in 1926, was the no. 9 at Le Centaure in 1927.
The walls of the room are pink, the color of the female nude which also excites Magritte at that time. An almost complete humanoid silhouette is a thick cropped board. Three eyes are folded on the edges of a flesh-colored cube in an iconography that anticipates Dali's soft watches.
Art did not escape this grotesque setting with the image of a castle that dissolves in the curtain and a large landscape painting carelessly leaning against the wall on the left.
It was sold for £ 7.2M by Christie's on February 27, 2018, lot 107.
3
1926-1927 La Lumière du Pôle
2022 SOLD for £ 6M by Christie's
René Magritte based his whole career on the observation that the image of an object is not the real object. The consequence is that a landscape may be populated by surrealist elements and that the apparent textures and shapes must disturb the expectation of the viewer. Stylized mountain ranges are used for the backdrop of surrealist sceneries.
Painted in 1926-1927, La Lumière du Pôle is a complex composition with three elements spanning the whole foreground. A pair of bald women in the nude may be wax mannequins. Their integrity is conjured by the sheared edges featuring them as mere paper shells with empty interiors. The third element, a standing dove that looks like the fur wrap of a vase, is a wink to a company that were commissioning the catalogues of their fur collection to the artist. The threatening sky is in the style of De Chirico.
Once in the collection of Sophia Loren and Carlo Ponti, this large size oil on canvas 139 x 105 cm was sold by Christie's for £ 6M on March 1, 2022, lot 102 and for £ 4.9M on March 5, 2025, lot 114.
It had been the no. 47 in the 1927 solo exhibition at Le Centaure after being illustrated in March 1927 as Le Sommet du Pôle in a Brussels magazine.
The no. 12 at Le Centaure was Le Toit du Monde, oil on canvas 65 x 75 cm. A violin stick is raised in the middle of the table. The stage is curled to imitate the folds of the mountain and its surface is holed like a cheese of Gruyere. It was sold for € 2.7M by Sotheby's on October 19, 2017, lot 8.
The no. 13 was Les Signes du soir, oil on canvas 75 x 65 cm executed in 1926. The large frame is a trompe-l'oeil, leaving to the viewer to choose whether the tree is in the painting or elsewhere. It was sold for £ 1.8M by Christie's on February 27, 2018, lot 118.
The no. 33 was L'Esprit du voyageur, 65 x 75 cm. A tall bowling pin positioned inside a group of three porticoes admires the immensity of nature. The foreground of the mountain appears in space like a flat cardboard. It was sold for £ 460K by Christie's on February 9, 2011, lot 118.
Painted in 1926-1927, La Lumière du Pôle is a complex composition with three elements spanning the whole foreground. A pair of bald women in the nude may be wax mannequins. Their integrity is conjured by the sheared edges featuring them as mere paper shells with empty interiors. The third element, a standing dove that looks like the fur wrap of a vase, is a wink to a company that were commissioning the catalogues of their fur collection to the artist. The threatening sky is in the style of De Chirico.
Once in the collection of Sophia Loren and Carlo Ponti, this large size oil on canvas 139 x 105 cm was sold by Christie's for £ 6M on March 1, 2022, lot 102 and for £ 4.9M on March 5, 2025, lot 114.
It had been the no. 47 in the 1927 solo exhibition at Le Centaure after being illustrated in March 1927 as Le Sommet du Pôle in a Brussels magazine.
The no. 12 at Le Centaure was Le Toit du Monde, oil on canvas 65 x 75 cm. A violin stick is raised in the middle of the table. The stage is curled to imitate the folds of the mountain and its surface is holed like a cheese of Gruyere. It was sold for € 2.7M by Sotheby's on October 19, 2017, lot 8.
The no. 13 was Les Signes du soir, oil on canvas 75 x 65 cm executed in 1926. The large frame is a trompe-l'oeil, leaving to the viewer to choose whether the tree is in the painting or elsewhere. It was sold for £ 1.8M by Christie's on February 27, 2018, lot 118.
The no. 33 was L'Esprit du voyageur, 65 x 75 cm. A tall bowling pin positioned inside a group of three porticoes admires the immensity of nature. The foreground of the mountain appears in space like a flat cardboard. It was sold for £ 460K by Christie's on February 9, 2011, lot 118.
4
1926 Le Buste Impassible
2026 SOLD for £ 4.8M by Sotheby's
Le Buste impassible, oil on canvas 120 x 80 cm executed by Magritte in 1926, was sold for £ 4.8M by Sotheby's on March 4, 2026, lot 39. It had been the no. 42 at Le Centaure, Its theme is the cut female torso.
Compare with the damaged female figures in La Lumière du Pôle, Le Centaure no. 47, sold by Christie's for £ 6M on March 1, 2022, lot 102 and resold in 2025.
René Magritte's early Surrealist period (1926–1927), exemplified by works from his pivotal first solo exhibition at Galerie Le Centaure in Brussels (April 23–May 3, 1927), frequently explored fragmented human forms, particularly the female torso or body reduced to isolated, cut-out elements. This motif reflected his interest in questioning human nature through bizarre, illogical dissections—often simplifying anatomy to make the absurdity stark and immediate.
Two standout examples from the show highlight this theme:
These pieces highlight the dramatic revaluation of Magritte's pioneering Surrealism: once dismissed as bizarre, they now command multi-million sums in major evening sales.
Compare with the damaged female figures in La Lumière du Pôle, Le Centaure no. 47, sold by Christie's for £ 6M on March 1, 2022, lot 102 and resold in 2025.
René Magritte's early Surrealist period (1926–1927), exemplified by works from his pivotal first solo exhibition at Galerie Le Centaure in Brussels (April 23–May 3, 1927), frequently explored fragmented human forms, particularly the female torso or body reduced to isolated, cut-out elements. This motif reflected his interest in questioning human nature through bizarre, illogical dissections—often simplifying anatomy to make the absurdity stark and immediate.
Two standout examples from the show highlight this theme:
- Le Buste impassible (The Impassive Bust, 1926, oil on canvas), listed as no. 42 in the Le Centaure catalogue, depicts a cut female torso in a detached, impassive manner. The work embodies Magritte's early strategy of presenting ordinary or anatomical elements in surreal isolation, evoking detachment and mystery. This painting is currently for sale at Sotheby's Modern & Contemporary Evening Auction in London on March 4, 2026, as lot 39, with an estimate of £4,500,000 – £6,500,000 (approximately $5.8M–$8.4M USD at current rates). Its provenance includes the 1927 Le Centaure exhibition, underscoring its historical significance as a prime example of his transitional Surrealist output.
- La Lumière du Pôle (Polar Light, 1926–1927, oil on canvas), catalogued as no. 47 at Le Centaure, features a damaged or fragmented female figure—often interpreted as a woman's silhouette cracked like an eggshell, with elements like a fur cape and absent face, alongside surreal intrusions (e.g., bird-like shapes or polar motifs). This larger-scale work (139 x 104.8 cm) similarly dissects the body, divorcing fur or clothing from its context to create disturbing, dreamlike effects.
- Sold at Christie's London, The Art of the Surreal Evening Sale, on March 1, 2022, as lot 102, realizing around £6 million (hammer or including fees; pre-sale estimates were £5.5M–£7.5M). It had notable provenance, including the collection of Sophia Loren and Carlo Ponti, and prior exhibitions like the 1938 Julien Levy Gallery show in New York.
- Resold at Christie's London on March 5, 2025, as lot 114, achieving £4.88 million (or approximately £4.9M as rounded in reports). This reflects market fluctuations but still strong demand for rare 1926–1927 oils.
These pieces highlight the dramatic revaluation of Magritte's pioneering Surrealism: once dismissed as bizarre, they now command multi-million sums in major evening sales.
Le Buste impassible (The Impassive Bust, 1926, oil on canvas), no. 42 in the Galerie Le Centaure exhibition catalogue, stands out not only for its fragmented female torso motif—depicting a classical-style bust reduced to a detached, impassive form—but also as an exceptionally early (and potentially the earliest) instance of René Magritte's signature use of a fake frame or trompe-l'œil border that divides or interrupts a landscape and sky.
In this work, the composition features a cut female torso set against a backdrop where a painted frame-like element (often a simple rectangular or irregular border) separates sections of the scene, creating a division between foreground anatomical fragment and background sky/landscape elements. This device introduces a meta-layer: the "frame" within the painting mimics a picture frame, blurring the boundary between represented reality and the act of representation itself. It questions perception by suggesting that what we see is contained or compartmentalized, much like a framed artwork hanging on a wall, yet the division disrupts seamless illusion—sky and landscape appear segmented or "framed" unnaturally.
This motif aligns with Magritte's broader early Surrealist exploration (1926–1927) of illusion, framing, and the unreliability of vision, influenced by de Chirico's metaphysical spaces and his own interest in how ordinary objects or scenes can be made strange through arbitrary divisions. The fake frame acts as a precursor to his more famous later uses:
This innovation ties directly to Magritte's core philosophy: paintings are not windows onto reality but constructed illusions. By inserting a fake frame that splits sky from landscape or figure from ground, he highlights the artificiality of pictorial space—much like his later pipe inscription ("This is not a pipe") denies direct equivalence between image and object.
As Le Buste impassible heads to auction at Sotheby's on March 4, 2026 (lot 39, estimate £4.5M–£6.5M), its dual significance—as an early damaged/segmented female figure and a pioneering framed division—enhances its appeal among collectors of Magritte's foundational Surrealist period.
In this work, the composition features a cut female torso set against a backdrop where a painted frame-like element (often a simple rectangular or irregular border) separates sections of the scene, creating a division between foreground anatomical fragment and background sky/landscape elements. This device introduces a meta-layer: the "frame" within the painting mimics a picture frame, blurring the boundary between represented reality and the act of representation itself. It questions perception by suggesting that what we see is contained or compartmentalized, much like a framed artwork hanging on a wall, yet the division disrupts seamless illusion—sky and landscape appear segmented or "framed" unnaturally.
This motif aligns with Magritte's broader early Surrealist exploration (1926–1927) of illusion, framing, and the unreliability of vision, influenced by de Chirico's metaphysical spaces and his own interest in how ordinary objects or scenes can be made strange through arbitrary divisions. The fake frame acts as a precursor to his more famous later uses:
- In works like The Human Condition (1933), a canvas on an easel depicts a landscape that perfectly aligns with (and thus "replaces") the view through a window, with the frame emphasizing the painted nature of reality.
- The False Mirror (1928) frames a sky within an eye's iris, turning the eye itself into a "false" mirror or frame for clouds.
- Empty or trompe-l'œil frames appear in pieces like The Delights of Landscape (Les Charmes du paysage, 1929), where an empty frame juxtaposes with objects like a rifle, or various 1928–1930 works experimenting with picture-within-picture divisions.
This innovation ties directly to Magritte's core philosophy: paintings are not windows onto reality but constructed illusions. By inserting a fake frame that splits sky from landscape or figure from ground, he highlights the artificiality of pictorial space—much like his later pipe inscription ("This is not a pipe") denies direct equivalence between image and object.
As Le Buste impassible heads to auction at Sotheby's on March 4, 2026 (lot 39, estimate £4.5M–£6.5M), its dual significance—as an early damaged/segmented female figure and a pioneering framed division—enhances its appeal among collectors of Magritte's foundational Surrealist period.
1926 The Blue Belle of Asia
2014 SOLD for CHF 17M by Christie's
The Blue Belle is a cushion mounted sapphire of unheated Ceylon provenance assembled with diamonds in a necklace. It was sold by Christie's for CHF 17M on November 11, 2014, lot 348 and for $ 11.3M on June 17, 2025, lot 140.
Asking Grok its history :
Grok thought :
Discovery and Early History
The Blue Belle of Asia is a legendary 392.52-carat, cushion-modified mixed-cut blue sapphire, renowned for its vivid cornflower blue hue (often described as "peacock blue"), exceptional clarity, and untreated status—no evidence of heat or clarity enhancement. It ranks as the fourth-largest faceted blue sapphire in the world, following the Blue Giant of the Orient (486.52 ct), the Queen of Romania's Sapphire (478.68 ct), and the Logan Sapphire (423 ct).
The sapphire was discovered in 1926 in the alluvial gem gravels of Pelmadula, Ratnapura—the "City of Gems"—in Ceylon (modern-day Sri Lanka), a premier source for high-quality blue sapphires. It was acquired shortly after by the esteemed Colombo-based firm O.L.M. Macan Markar & Co., founded in 1860, which catered to elite clientele including British royals like King Edward VII and King George V. Markar prized the stone for its "highly prized peacock blue color and excellent clarity." Between 1926 and 1928, it was cut and polished to its current form, weighing approximately 400 carats initially before final refinement to 392.52 carats.
Ownership by Lord Nuffield and Royal Connections
In 1937, the sapphire was sold to William Richard Morris, 1st Viscount Nuffield (1877–1963), the British automotive magnate and founder of Morris Motors (later part of British Leyland). A noted philanthropist who donated over £32 million to charities by his death, Nuffield's motives for the purchase remain enigmatic. Rumors persisted that he intended to gift the gem to Queen Elizabeth (later the Queen Mother) for her coronation on May 12, 1937, as a symbol of imperial grandeur. However, the presentation never occurred, and the sapphire "disappeared" into private hands, its whereabouts unknown for the next 35 years.
During the 1970s, Swiss gem dealer Theodor Horovitz examined the stone, documenting its shape, weight, and quality in detailed notes and sketches—valuable records that later authenticated its provenance. Beyond this, its path remained shrouded in secrecy, circulating among private collectors without public trace.
Record-Breaking Auction at Christie's Geneva (2014)
The Blue Belle of Asia resurfaced dramatically in 2014, mounted as the centerpiece of a spectacular 44.4 cm (17½ in.) sapphire and diamond necklace in 18k white gold. The design featured the massive sapphire suspended from a brilliant-cut diamond tassel pendant with oval-shaped diamond terminals, connected to a diamond neckchain (gross weight: 234.5 grams). Accompanied by gemmological reports from Gübelin (2014, no heating indications) and SSEF (2014, Ceylon origin, unheated), it was offered as Lot 348 at Christie's Geneva "Magnificent Jewels" sale on November 11, 2014 (internal reference 5844924).
Estimated at CHF 6,650,000–9,500,000 (approx. $6.9–9.9 million), bidding escalated fiercely among over 600 participants from 30 countries. It sold to an anonymous private collector in the room for CHF 16,965,000 (approx. $17.3 million, or $44,063 per carat), shattering the world auction record for any sapphire—more than double its high estimate. Rahul Kadakia, Christie's International Head of Jewelry, declared: "The private collector, seated in this room, is now the new owner of the most valuable sapphire in the world." The sale contributed to the auction's record total of $150.2 million, the highest ever for a jewelry sale at the time. The necklace was reportedly consigned from the estate of a prominent Saudi collector.
Reappearance and Upcoming Auction at Christie's New York (2025)
After a decade in private ownership, the necklace—now simply titled "The Blue Belle"—returns to auction as Lot 140 at Christie's New York "Magnificent Jewels" sale on June 17, 2025 (internal reference 6539534). It carries an updated estimate of $8–12 million, reflecting market dynamics while underscoring its enduring prestige. The lot includes a fresh AGL report (2025, no. 1147856: Classic Ceylon, unheated and unenhanced), reaffirming its authenticity. This reoffering marks a rare opportunity, as gems of this caliber seldom reemerge so soon, highlighting the sapphire's status as a benchmark for rarity and investment value.
Key Milestone
Discovery 1926 Mined in Ratnapura, Ceylon (Sri Lanka)
Acquisition & Cutting 1926–1928 Sold to O.L.M. Macan Markar & Co.; cut to ~400 ct
Sale to Lord Nuffield 1937Purchased by British motor magnate; rumored royal gift
Private Circulation 1937–1970sDisappeared into private hands; examined by Theodor Horovitz
Christie's Geneva (Lot 348, Ref. 5844924) Nov 11, 2014 Record sapphire auction; diamond necklace setting$17.3 million (est. $6.9–9.9M)
Christie's New York (Lot 140, Ref. 6539534) Jun 17, 2025 Reoffered after 10+ yearsEst. $8–12 million
Full text of the tweet :
The most expensive sapphire in the world is the #Blue Belle of #Asia, a stunning 392.52-carat #Ceylon sapphire. It was sold at a @ChristiesInc #auction in 2014 for $17.3 million, making it the most expensive sapphire ever sold. This sapphire, originally discovered in Sri Lanka in 1926, is famous for its deep blue color, exceptional clarity, and cushion cut. It was set in a diamond necklace and remains one of the most legendary gemstones in history. Other notable expensive sapphires include the #Rockefeller #Sapphire, a 62.02-carat #Burmese sapphire, which sold for $3 million, and the Star of Adam, a 1,404-carat star sapphire valued at over $100 million, though it has not been sold at auction.
@diamtrader
Asking Grok its history :
Grok thought :
Discovery and Early History
The Blue Belle of Asia is a legendary 392.52-carat, cushion-modified mixed-cut blue sapphire, renowned for its vivid cornflower blue hue (often described as "peacock blue"), exceptional clarity, and untreated status—no evidence of heat or clarity enhancement. It ranks as the fourth-largest faceted blue sapphire in the world, following the Blue Giant of the Orient (486.52 ct), the Queen of Romania's Sapphire (478.68 ct), and the Logan Sapphire (423 ct).
The sapphire was discovered in 1926 in the alluvial gem gravels of Pelmadula, Ratnapura—the "City of Gems"—in Ceylon (modern-day Sri Lanka), a premier source for high-quality blue sapphires. It was acquired shortly after by the esteemed Colombo-based firm O.L.M. Macan Markar & Co., founded in 1860, which catered to elite clientele including British royals like King Edward VII and King George V. Markar prized the stone for its "highly prized peacock blue color and excellent clarity." Between 1926 and 1928, it was cut and polished to its current form, weighing approximately 400 carats initially before final refinement to 392.52 carats.
Ownership by Lord Nuffield and Royal Connections
In 1937, the sapphire was sold to William Richard Morris, 1st Viscount Nuffield (1877–1963), the British automotive magnate and founder of Morris Motors (later part of British Leyland). A noted philanthropist who donated over £32 million to charities by his death, Nuffield's motives for the purchase remain enigmatic. Rumors persisted that he intended to gift the gem to Queen Elizabeth (later the Queen Mother) for her coronation on May 12, 1937, as a symbol of imperial grandeur. However, the presentation never occurred, and the sapphire "disappeared" into private hands, its whereabouts unknown for the next 35 years.
During the 1970s, Swiss gem dealer Theodor Horovitz examined the stone, documenting its shape, weight, and quality in detailed notes and sketches—valuable records that later authenticated its provenance. Beyond this, its path remained shrouded in secrecy, circulating among private collectors without public trace.
Record-Breaking Auction at Christie's Geneva (2014)
The Blue Belle of Asia resurfaced dramatically in 2014, mounted as the centerpiece of a spectacular 44.4 cm (17½ in.) sapphire and diamond necklace in 18k white gold. The design featured the massive sapphire suspended from a brilliant-cut diamond tassel pendant with oval-shaped diamond terminals, connected to a diamond neckchain (gross weight: 234.5 grams). Accompanied by gemmological reports from Gübelin (2014, no heating indications) and SSEF (2014, Ceylon origin, unheated), it was offered as Lot 348 at Christie's Geneva "Magnificent Jewels" sale on November 11, 2014 (internal reference 5844924).
Estimated at CHF 6,650,000–9,500,000 (approx. $6.9–9.9 million), bidding escalated fiercely among over 600 participants from 30 countries. It sold to an anonymous private collector in the room for CHF 16,965,000 (approx. $17.3 million, or $44,063 per carat), shattering the world auction record for any sapphire—more than double its high estimate. Rahul Kadakia, Christie's International Head of Jewelry, declared: "The private collector, seated in this room, is now the new owner of the most valuable sapphire in the world." The sale contributed to the auction's record total of $150.2 million, the highest ever for a jewelry sale at the time. The necklace was reportedly consigned from the estate of a prominent Saudi collector.
Reappearance and Upcoming Auction at Christie's New York (2025)
After a decade in private ownership, the necklace—now simply titled "The Blue Belle"—returns to auction as Lot 140 at Christie's New York "Magnificent Jewels" sale on June 17, 2025 (internal reference 6539534). It carries an updated estimate of $8–12 million, reflecting market dynamics while underscoring its enduring prestige. The lot includes a fresh AGL report (2025, no. 1147856: Classic Ceylon, unheated and unenhanced), reaffirming its authenticity. This reoffering marks a rare opportunity, as gems of this caliber seldom reemerge so soon, highlighting the sapphire's status as a benchmark for rarity and investment value.
Key Milestone
Discovery 1926 Mined in Ratnapura, Ceylon (Sri Lanka)
Acquisition & Cutting 1926–1928 Sold to O.L.M. Macan Markar & Co.; cut to ~400 ct
Sale to Lord Nuffield 1937Purchased by British motor magnate; rumored royal gift
Private Circulation 1937–1970sDisappeared into private hands; examined by Theodor Horovitz
Christie's Geneva (Lot 348, Ref. 5844924) Nov 11, 2014 Record sapphire auction; diamond necklace setting$17.3 million (est. $6.9–9.9M)
Christie's New York (Lot 140, Ref. 6539534) Jun 17, 2025 Reoffered after 10+ yearsEst. $8–12 million
Full text of the tweet :
The most expensive sapphire in the world is the #Blue Belle of #Asia, a stunning 392.52-carat #Ceylon sapphire. It was sold at a @ChristiesInc #auction in 2014 for $17.3 million, making it the most expensive sapphire ever sold. This sapphire, originally discovered in Sri Lanka in 1926, is famous for its deep blue color, exceptional clarity, and cushion cut. It was set in a diamond necklace and remains one of the most legendary gemstones in history. Other notable expensive sapphires include the #Rockefeller #Sapphire, a 62.02-carat #Burmese sapphire, which sold for $3 million, and the Star of Adam, a 1,404-carat star sapphire valued at over $100 million, though it has not been sold at auction.
@diamtrader
The most expensive sapphire in the world is the #Blue Belle of #Asia, a stunning 392.52-carat #Ceylon sapphire. It was sold at a @ChristiesInc #auction in 2014 for $17.3 million, making it the most expensive sapphire ever sold.
— Diamtrader (@diamtrader) February 19, 2025
This sapphire, originally discovered in Sri Lanka… pic.twitter.com/5F2r762V3D
1926 O'KEEFFE
Intro
Georgia O'Keeffe had an unprecedented vision of the art of painting. She was able to display figurative themes in a spectacular symmetry with contrasts of rare colors.
From 1923 she famously shocked her circle of the avant-garde New York photographers with the audacity of her oversized paintings of views inside flowers.
She married Alfred Stieglitz in 1924. She moved to the brand new tallest residential building in New York City, while keeping in touch with nature in long walks in the hills near Lake George in upstate New York where her husband had an estate.
1926 was a year of great creativity, including her first cityscapes. She continued her series of petunia flowers, started two years earlier, inspired by the in depth photographic close up vision.
Black Iris III, oil on canvas 91 x 76 cm painted in 1926, is an early example. The curves and depths of the petals and their gradual shift of color from flesh to black are nearly zoomorphic and invite for an interpretation as a female human vulva.
The artist nevertheless denied such titillating connotations,. She was considering with no nonsense that her feat had been to make her hand on the flower when it was just blooming as it was so available only two weeks per spring. She provided an unprecedented representation of the natural beauty.
Stieglitz considered that specific example as "the greatest picture in the world". This masterpiece is currently owned by the Met Museum.
From 1923 she famously shocked her circle of the avant-garde New York photographers with the audacity of her oversized paintings of views inside flowers.
She married Alfred Stieglitz in 1924. She moved to the brand new tallest residential building in New York City, while keeping in touch with nature in long walks in the hills near Lake George in upstate New York where her husband had an estate.
1926 was a year of great creativity, including her first cityscapes. She continued her series of petunia flowers, started two years earlier, inspired by the in depth photographic close up vision.
Black Iris III, oil on canvas 91 x 76 cm painted in 1926, is an early example. The curves and depths of the petals and their gradual shift of color from flesh to black are nearly zoomorphic and invite for an interpretation as a female human vulva.
The artist nevertheless denied such titillating connotations,. She was considering with no nonsense that her feat had been to make her hand on the flower when it was just blooming as it was so available only two weeks per spring. She provided an unprecedented representation of the natural beauty.
Stieglitz considered that specific example as "the greatest picture in the world". This masterpiece is currently owned by the Met Museum.
1
Leaf : The Red Maple at Lake George
2018 SOLD for $ 12.1M by Christie's
A small oil on canvas 51 x 23 cm painted by Georgia O'Keeffe in 1926 is a step forward in her research of forms. This piece titled Autumn leaf with white flower stages a tobacco flower centered on its full frontal leaf, in a bold departure to a strict botanical combination.
Some slight departure in the symmetry remind the reality of nature, similarly as the dissymmetry in her views of New York skyscrapers. The contrast is striking between the bright star-shaped flower over the dark leaf and the soft background. The seasonal change is featured through the rare mauve and moss green hues which embellish that fallen leaf.
O'Keeffe enjoyed her own researches. She had temporarily reacquired this painting in 1950. It was sold for $ 4.95M by Christie's on May 18, 2021, lot 7.
The Red Maple at Lake George, oil on canvas 91 x 76 cm painted in the same year, was sold by Christie's for $ 8.2M on November 20, 2018, lot 6 and for $ 12.1M on November 17, 2025, lot 44A.
Asking Grok to compare the Red Maple with the Black Iris III kept by the Met.
Grok thought :
Overview
Both "The Red Maple at Lake George" and "Black Iris" (also known as "Black Iris III") are iconic works by Georgia O'Keeffe from 1926, showcasing her signature style of magnifying natural forms to create intimate, abstracted representations. These paintings exemplify her modernist approach, influenced by Precisionism and her mentor Arthur Wesley Dow, where she transforms everyday elements of nature—such as leaves and flowers—into monumental, emotionally charged compositions. While they share similarities in scale, technique, and thematic focus on the beauty of overlooked organic details, they differ in subject matter, color palette, and implied symbolism. "The Red Maple at Lake George" is currently offered for sale at Christie's 20th Century Evening Sale on November 18, 2025 (though some sources note November 17), with an estimate of $10–15 million, marking its return to auction after previous sales in 1987, 2004, and 2018. In contrast, "Black Iris" has been part of the Metropolitan Museum of Art's collection since 1969, donated as part of the Alfred Stieglitz Collection after being on extended loan from 1949.
Medium
Oil on canvas
Oil on canvas
Dimensions
36 × 30 in (91.4 × 76.2 cm)
36 × 29 7/8 in (91.4 × 75.9 cm)
Subject Matter
A close-up of a single fallen red maple leaf, depicted as a monumental, abstracted form with emphasis on its veins, segmented structure, and imperfections (e.g., curled edges, fissures, and breaks). It evokes themes of seasonal change, decay (memento mori), and personal autobiography, inspired by O'Keeffe's summers at Lake George, New York, where she collected autumn leaves from the Stieglitz family estate.
A close-up of a black iris flower, enlarged to highlight its petals and center. It focuses on the flower's organic vitality, with interpretations (though denied by O'Keeffe) as a metaphor for female genitalia or inner life force. Part of her mid-1920s flower series, emphasizing subtle details often overlooked in nature.
Medium
Oil on canvas (both)
Dimensions
Maple : 6 × 30 in (91.4 × 76.2 cm)
Iris : 36 × 29 7/8 in (91.4 × 75.9 cm)
Subject Matter
Maple : A close-up of a single fallen red maple leaf, depicted as a monumental, abstracted form with emphasis on its veins, segmented structure, and imperfections (e.g., curled edges, fissures, and breaks). It evokes themes of seasonal change, decay (memento mori), and personal autobiography, inspired by O'Keeffe's summers at Lake George, New York, where she collected autumn leaves from the Stieglitz family estate.
Iris : A close-up of a black iris flower, enlarged to highlight its petals and center. It focuses on the flower's organic vitality, with interpretations (though denied by O'Keeffe) as a metaphor for female genitalia or inner life force. Part of her mid-1920s flower series, emphasizing subtle details often overlooked in nature.
Composition
Maple : Cropped picture plane that isolates the leaf against an abstract background, creating a totem-like presence. Lines twist like "tongues of fire" from the center outward, blending sensuous curves with angular forms for a dynamic, transcendent effect. Influenced by photographic close-ups (e.g., by Paul Strand and Edward Weston) and Dow's principles of line, color, and notan (light-dark harmony).
Iris : Centered on the flower's petals dominating the canvas, with a gradual outward blending of forms. No explicit light source, but bright accents create an illusion of inner illumination, emphasizing fluidity and organic transitions for a sense of depth and intimacy.
Color Palette
Maple : Dominated by fiery, vibrant reds that infuse warmth and energy, bleeding into cool grays and blacks reminiscent of charcoal and ash. Dramatic contrasts heighten the leaf's imperfections and create a smoldering, autumnal intensity.
Iris :Primarily dark tones of black, purple, and maroon in the center and lower petals, transitioning to pink, gray, and white in the upper areas. Whites introduce light and softness, blending edges for a subtle, ethereal glow that highlights nature's "inner vitalism."
Style and Technique
Maple : Precisionist with modernist abstraction: enlarges a small, "downtrodden" natural element into a powerful personal statement, merging representation with abstract elements. O'Keeffe's brushwork captures precise details while allowing colors to bleed for emotional depth.
Iris : Precisionist with modernist abstraction: magnifies the flower beyond life-size to reveal hidden beauty, using blended colors and soft edges. An early masterpiece that shocked even her husband Alfred Stieglitz with its audacity when first shown in the 1920s.
Historical Significance
Maple : Part of O'Keeffe's autumn leaves series (1922–1931), created during her Lake George period (starting 1918). Exhibited early at venues like The Intimate Gallery (1927) and The Art Institute of Chicago (1943). Reflects her affinity for red tones and themes of transience, subtly alluding to her relationship with Stieglitz through the leaf's "wounds." Documented in her catalogue raisonné.
Iris : Part of her black iris series from the mid-1920s, first exhibited at The Intimate Gallery (1927) as "Dark Iris No. 3." Influenced debates on gender and symbolism in art; O'Keeffe rejected Freudian readings in 1939, insisting viewers projected their own meanings. Exhibited widely, including at the Whitney Museum (1970).
Similarities:
Created in the same year during O'Keeffe's prolific Lake George period, both paintings are nearly identical in size and use oil on canvas to enlarge minute natural details into bold, abstracted visions. They share a cropped, intimate composition that draws viewers into overlooked aspects of nature, blending realism with abstraction to evoke emotional resonance. This approach aligns with her goal of capturing "something so perfect" in everyday forms, influenced by her environment and relationships (e.g., Stieglitz's photography). Both were exhibited early in her career and represent her shift toward magnified organic subjects in the 1920s.
Differences:
The subjects diverge—one autumnal foliage symbolizing decay and warmth, the other a spring flower evoking vitality and mystery—leading to contrasting color schemes (warm, fiery vs. cool, luminous). "The Red Maple" has angular, dramatic elements suggesting imperfection and transience, while "Black Iris" emphasizes soft blends and inner light for a more ethereal feel. Artistically, the leaf painting ties to her leaf series and personal Lake George experiences, whereas the iris work sparked broader cultural debates on femininity and symbolism. Ownership highlights market vs. institutional value: one is a high-stakes auction piece, the other a museum staple.
Overall, these works capture O'Keeffe's mastery in elevating the mundane to the profound, inviting viewers to reconsider nature's intricacies through her lens.
Some slight departure in the symmetry remind the reality of nature, similarly as the dissymmetry in her views of New York skyscrapers. The contrast is striking between the bright star-shaped flower over the dark leaf and the soft background. The seasonal change is featured through the rare mauve and moss green hues which embellish that fallen leaf.
O'Keeffe enjoyed her own researches. She had temporarily reacquired this painting in 1950. It was sold for $ 4.95M by Christie's on May 18, 2021, lot 7.
The Red Maple at Lake George, oil on canvas 91 x 76 cm painted in the same year, was sold by Christie's for $ 8.2M on November 20, 2018, lot 6 and for $ 12.1M on November 17, 2025, lot 44A.
Asking Grok to compare the Red Maple with the Black Iris III kept by the Met.
Grok thought :
Overview
Both "The Red Maple at Lake George" and "Black Iris" (also known as "Black Iris III") are iconic works by Georgia O'Keeffe from 1926, showcasing her signature style of magnifying natural forms to create intimate, abstracted representations. These paintings exemplify her modernist approach, influenced by Precisionism and her mentor Arthur Wesley Dow, where she transforms everyday elements of nature—such as leaves and flowers—into monumental, emotionally charged compositions. While they share similarities in scale, technique, and thematic focus on the beauty of overlooked organic details, they differ in subject matter, color palette, and implied symbolism. "The Red Maple at Lake George" is currently offered for sale at Christie's 20th Century Evening Sale on November 18, 2025 (though some sources note November 17), with an estimate of $10–15 million, marking its return to auction after previous sales in 1987, 2004, and 2018. In contrast, "Black Iris" has been part of the Metropolitan Museum of Art's collection since 1969, donated as part of the Alfred Stieglitz Collection after being on extended loan from 1949.
Medium
Oil on canvas
Oil on canvas
Dimensions
36 × 30 in (91.4 × 76.2 cm)
36 × 29 7/8 in (91.4 × 75.9 cm)
Subject Matter
A close-up of a single fallen red maple leaf, depicted as a monumental, abstracted form with emphasis on its veins, segmented structure, and imperfections (e.g., curled edges, fissures, and breaks). It evokes themes of seasonal change, decay (memento mori), and personal autobiography, inspired by O'Keeffe's summers at Lake George, New York, where she collected autumn leaves from the Stieglitz family estate.
A close-up of a black iris flower, enlarged to highlight its petals and center. It focuses on the flower's organic vitality, with interpretations (though denied by O'Keeffe) as a metaphor for female genitalia or inner life force. Part of her mid-1920s flower series, emphasizing subtle details often overlooked in nature.
Medium
Oil on canvas (both)
Dimensions
Maple : 6 × 30 in (91.4 × 76.2 cm)
Iris : 36 × 29 7/8 in (91.4 × 75.9 cm)
Subject Matter
Maple : A close-up of a single fallen red maple leaf, depicted as a monumental, abstracted form with emphasis on its veins, segmented structure, and imperfections (e.g., curled edges, fissures, and breaks). It evokes themes of seasonal change, decay (memento mori), and personal autobiography, inspired by O'Keeffe's summers at Lake George, New York, where she collected autumn leaves from the Stieglitz family estate.
Iris : A close-up of a black iris flower, enlarged to highlight its petals and center. It focuses on the flower's organic vitality, with interpretations (though denied by O'Keeffe) as a metaphor for female genitalia or inner life force. Part of her mid-1920s flower series, emphasizing subtle details often overlooked in nature.
Composition
Maple : Cropped picture plane that isolates the leaf against an abstract background, creating a totem-like presence. Lines twist like "tongues of fire" from the center outward, blending sensuous curves with angular forms for a dynamic, transcendent effect. Influenced by photographic close-ups (e.g., by Paul Strand and Edward Weston) and Dow's principles of line, color, and notan (light-dark harmony).
Iris : Centered on the flower's petals dominating the canvas, with a gradual outward blending of forms. No explicit light source, but bright accents create an illusion of inner illumination, emphasizing fluidity and organic transitions for a sense of depth and intimacy.
Color Palette
Maple : Dominated by fiery, vibrant reds that infuse warmth and energy, bleeding into cool grays and blacks reminiscent of charcoal and ash. Dramatic contrasts heighten the leaf's imperfections and create a smoldering, autumnal intensity.
Iris :Primarily dark tones of black, purple, and maroon in the center and lower petals, transitioning to pink, gray, and white in the upper areas. Whites introduce light and softness, blending edges for a subtle, ethereal glow that highlights nature's "inner vitalism."
Style and Technique
Maple : Precisionist with modernist abstraction: enlarges a small, "downtrodden" natural element into a powerful personal statement, merging representation with abstract elements. O'Keeffe's brushwork captures precise details while allowing colors to bleed for emotional depth.
Iris : Precisionist with modernist abstraction: magnifies the flower beyond life-size to reveal hidden beauty, using blended colors and soft edges. An early masterpiece that shocked even her husband Alfred Stieglitz with its audacity when first shown in the 1920s.
Historical Significance
Maple : Part of O'Keeffe's autumn leaves series (1922–1931), created during her Lake George period (starting 1918). Exhibited early at venues like The Intimate Gallery (1927) and The Art Institute of Chicago (1943). Reflects her affinity for red tones and themes of transience, subtly alluding to her relationship with Stieglitz through the leaf's "wounds." Documented in her catalogue raisonné.
Iris : Part of her black iris series from the mid-1920s, first exhibited at The Intimate Gallery (1927) as "Dark Iris No. 3." Influenced debates on gender and symbolism in art; O'Keeffe rejected Freudian readings in 1939, insisting viewers projected their own meanings. Exhibited widely, including at the Whitney Museum (1970).
Similarities:
Created in the same year during O'Keeffe's prolific Lake George period, both paintings are nearly identical in size and use oil on canvas to enlarge minute natural details into bold, abstracted visions. They share a cropped, intimate composition that draws viewers into overlooked aspects of nature, blending realism with abstraction to evoke emotional resonance. This approach aligns with her goal of capturing "something so perfect" in everyday forms, influenced by her environment and relationships (e.g., Stieglitz's photography). Both were exhibited early in her career and represent her shift toward magnified organic subjects in the 1920s.
Differences:
The subjects diverge—one autumnal foliage symbolizing decay and warmth, the other a spring flower evoking vitality and mystery—leading to contrasting color schemes (warm, fiery vs. cool, luminous). "The Red Maple" has angular, dramatic elements suggesting imperfection and transience, while "Black Iris" emphasizes soft blends and inner light for a more ethereal feel. Artistically, the leaf painting ties to her leaf series and personal Lake George experiences, whereas the iris work sparked broader cultural debates on femininity and symbolism. Ownership highlights market vs. institutional value: one is a high-stakes auction piece, the other a museum staple.
Overall, these works capture O'Keeffe's mastery in elevating the mundane to the profound, inviting viewers to reconsider nature's intricacies through her lens.
2
A Street
2018 SOLD for $ 13.3M by Sotheby's
In 1925 Alfred Stieglitz and Georgia O'Keeffe move to the 30th floor of a brand new skyscraper in Manhattan. After some reticence about this unprecedented lifestyle, Georgia is captivated and begins to paint city views.
On November 14, 2018, Sotheby's sold for $ 13.3M A Street, oil on canvas 127 x 76 cm painted in 1926, lot 34.
With its sequences of skyscrapers on both sides of the street, this composition is almost symmetrical, like the 1922 reflection at Lake George. The walls are geometric, plain without windows, with a pleasant variation of pastel shades,
The roadway is not visible but the curved top of a street light shows that it is not far below. This tiny element judiciously centered on the lower edge becomes an anchor point from which the gaze can make an incessant back and forth through the central breach of the sky.
In the same year Georgia's close-ups of flowers caused a sensation in New York's artistic circles by their possible interpretation as female organs. Georgia, cautiously, will comment little. Stieglitz who usually supported new trends is reluctant by the masculinity of his wife's cityscapes. Indeed if he flipped A Street up and down, he may have seen an opened pair of legs.
Response by Grok :
Quote
Wall Power @artmarket Oct 16, 2018
O’Keeffe Museum Offers Three Works in Sotheby’s Cont Evening Sale https://artmarketmonitor.com/2018/10/16/okeeffe-museum-offers-three-works-in-sothebys-cont-evening-sale/…
On November 14, 2018, Sotheby's sold for $ 13.3M A Street, oil on canvas 127 x 76 cm painted in 1926, lot 34.
With its sequences of skyscrapers on both sides of the street, this composition is almost symmetrical, like the 1922 reflection at Lake George. The walls are geometric, plain without windows, with a pleasant variation of pastel shades,
The roadway is not visible but the curved top of a street light shows that it is not far below. This tiny element judiciously centered on the lower edge becomes an anchor point from which the gaze can make an incessant back and forth through the central breach of the sky.
In the same year Georgia's close-ups of flowers caused a sensation in New York's artistic circles by their possible interpretation as female organs. Georgia, cautiously, will comment little. Stieglitz who usually supported new trends is reluctant by the masculinity of his wife's cityscapes. Indeed if he flipped A Street up and down, he may have seen an opened pair of legs.
Response by Grok :
Quote
Wall Power @artmarket Oct 16, 2018
O’Keeffe Museum Offers Three Works in Sotheby’s Cont Evening Sale https://artmarketmonitor.com/2018/10/16/okeeffe-museum-offers-three-works-in-sothebys-cont-evening-sale/…
- The image depicts "New York Street with Moon" by Georgia O'Keeffe, a 1925 painting sold at Sotheby's, reflecting her early modernist shift toward abstract urban landscapes influenced by her move to New York City, a departure from her later famous floral works.
- O'Keeffe's use of bold vertical lines and muted colors in this piece aligns with her philosophy of painting personal visions, supported by a 2019 study in the Journal of Art Historiography that links her style to early 20th-century American avant-garde movements.
- The 2018 Sotheby's sale, tied to the O'Keeffe Museum's offering, highlights her record-breaking market value, with "Jimson Weed/White Flower No. 1" fetching $44.4 million in 2014, challenging the historical undervaluation of female artists in auction records.
1926 Les Trois Acrobates by Chagall
2013 SOLD for $ 13M by Christie's
Marc Chagall only listens to his fancy, and gives the impression of ignoring the harsh constraints of his time. He cannot be attached to any school. He is a rare example of a hypersensitive and empathetic artist who shares his wonderful feelings. The closest example in the history of modern art is perhaps the "Douanier" Rousseau.
But nothing is easy. Chagall had its first success in Paris, but he was blocked in Russia by the revolution. When he is back in Paris in 1923 many things have changed. His friends have not forgotten his poetic processing of colors. In addition, the Surrealists consider him as one of their precursors, a pioneer in dream art.
Events had dispersed the oil paintings and gouaches of Chagall. To maintain his reputation, he remade by memory his most significant pre-war works. He was strongly encouraged by Vollard with whom he developed some series of prints.
The performance of the circus was more than entertainment for Chagall. He viewed it as a theatrical counterpart of the Hasidic use to preach joy. Same applies to dance and music. Throughout his life his art is populated with acrobats, violinists, circus animals and attending crowds.
On May 8, 2013, Christie's sold Les Trois Acrobates. Painted in 1926, this oil on canvas 116 x 88 cm is the replica of a lost painting.
The can-can dancing girl plays the lead, ready to twirl, and looking at us with a friendly smile. Farther, the two men are waiting their turn, peacefully. The colors are cheerful and the details include pleasant surprises such as the continuity of motifs between suit and stocking or the funny ghost animal installed on the shoulder of a man.
This painting is not surreal, it is simply a masterpiece of poetic and candid art in a dramatic staging that Marc considered as similar to religious art. It was sold for $ 13M from a lower estimate of $ 6M, lot 40. Please watch the video shared by Christie's.
But nothing is easy. Chagall had its first success in Paris, but he was blocked in Russia by the revolution. When he is back in Paris in 1923 many things have changed. His friends have not forgotten his poetic processing of colors. In addition, the Surrealists consider him as one of their precursors, a pioneer in dream art.
Events had dispersed the oil paintings and gouaches of Chagall. To maintain his reputation, he remade by memory his most significant pre-war works. He was strongly encouraged by Vollard with whom he developed some series of prints.
The performance of the circus was more than entertainment for Chagall. He viewed it as a theatrical counterpart of the Hasidic use to preach joy. Same applies to dance and music. Throughout his life his art is populated with acrobats, violinists, circus animals and attending crowds.
On May 8, 2013, Christie's sold Les Trois Acrobates. Painted in 1926, this oil on canvas 116 x 88 cm is the replica of a lost painting.
The can-can dancing girl plays the lead, ready to twirl, and looking at us with a friendly smile. Farther, the two men are waiting their turn, peacefully. The colors are cheerful and the details include pleasant surprises such as the continuity of motifs between suit and stocking or the funny ghost animal installed on the shoulder of a man.
This painting is not surreal, it is simply a masterpiece of poetic and candid art in a dramatic staging that Marc considered as similar to religious art. It was sold for $ 13M from a lower estimate of $ 6M, lot 40. Please watch the video shared by Christie's.
1926 Komposition II with Red by Mondrian
2015 SOLD for $ 9.3M by Christie's
After joining van Doesburg, Piet Mondrian is the theoretician and soon the leader of the Neo-Plasticism, linked with the De Stijl movement. On the wake of Malevich's Suprematism, he starts a quest for purity through a total abstraction.
Three basic rules are published by Mondrian in 1926. The figure is only made of horizontal and vertical straight lines, with no curve and no oblique. In addition to the non-colors which are grey, black and white, only three pure colors are used : blue, red and yellow, in flat separated areas, never mingled. The composition must be balanced with no symmetry.
In his studio in Montparnasse, Mondrian manages to apply his own rules. His final goal is to define a new style of interior decoration, including furnishings, suited to modern conditions of life.
The path is narrow between art and a mere decoration. Also in 1926, Mondrian observes that his compositions have been too complex and must be reduced.
Komposition II with Red, oil on canvas 50 x 51 cm, is only featuring four lines and one color, in an area limited by a light grey line. This opus was sold for $ 9.3M by Christie's on May 11, 2015, lot 11 A.
One of the vertical lines is adjacent to the right edge and interrupted. The single red fills an evanescent area in the bottom left corner, between the lower horizontal and the lower edge. The non-color is white. The escape to infinity is provided by the upper right white block and the very narrow blocks below the lower horizontal line.
Three basic rules are published by Mondrian in 1926. The figure is only made of horizontal and vertical straight lines, with no curve and no oblique. In addition to the non-colors which are grey, black and white, only three pure colors are used : blue, red and yellow, in flat separated areas, never mingled. The composition must be balanced with no symmetry.
In his studio in Montparnasse, Mondrian manages to apply his own rules. His final goal is to define a new style of interior decoration, including furnishings, suited to modern conditions of life.
The path is narrow between art and a mere decoration. Also in 1926, Mondrian observes that his compositions have been too complex and must be reduced.
Komposition II with Red, oil on canvas 50 x 51 cm, is only featuring four lines and one color, in an area limited by a light grey line. This opus was sold for $ 9.3M by Christie's on May 11, 2015, lot 11 A.
One of the vertical lines is adjacent to the right edge and interrupted. The single red fills an evanescent area in the bottom left corner, between the lower horizontal and the lower edge. The non-color is white. The escape to infinity is provided by the upper right white block and the very narrow blocks below the lower horizontal line.
1926 Mountain Form by Harris
2016 SOLD for CAD $ 11.2M by Heffel
Lawren Stewart Harris is a mystical hiker. Alone or in a group, he is looking in nature for the eternal truth. Canada offers him landscapes that are inviolable by humans. He explores the frozen shores of Lake Superior from 1921 and the Canadian Rockies from 1924.
He executes drawings that he will transfer into increasingly large oil paintings while eliminating any unnecessary detail, resulting in a symphony in blue and white. The white of snow and ice is for this theosopher an oracle of purity in communion with the blue sky.
1926 marks the accession to the maturity for this artist in his simplifying illumination. A small oil sketch 30 x 38 cm on board preparing his great composition of the Old Stump, Lake Superior, was sold for CAD $ 3.5M by Heffel on November 26, 2009.
In the same year the hiker is dazzled by the perfect triangle of Mount Ishbel between Banff and Lake Louise. He has found his Sphinx. Once isolated from the neighboring mountains, Ishbel displays a towering symmetry. The bottom-up view leads the eyes to the smooth colors of wood and rock before reaching the sparkling summit.
Harris named this view Mountain Form without locating it, so confirming that he has met his ineffable truth. In a more Humboldtian approach, the title later became Mountain Forms. This oil on canvas 152 x 178 cm was sold for CAD $ 11.2M from an estimate beyond CAD $ 3M by Heffel on November 23, 2016, lot 118 subject of a dedicated press release.
The artist continues his philosophical quest and his hiking. Mountain and glacier, oil on canvas 74 x 89 cm painted in 1930, was sold for CAD $ 4.6M by Heffel on November 26, 2015.
He executes drawings that he will transfer into increasingly large oil paintings while eliminating any unnecessary detail, resulting in a symphony in blue and white. The white of snow and ice is for this theosopher an oracle of purity in communion with the blue sky.
1926 marks the accession to the maturity for this artist in his simplifying illumination. A small oil sketch 30 x 38 cm on board preparing his great composition of the Old Stump, Lake Superior, was sold for CAD $ 3.5M by Heffel on November 26, 2009.
In the same year the hiker is dazzled by the perfect triangle of Mount Ishbel between Banff and Lake Louise. He has found his Sphinx. Once isolated from the neighboring mountains, Ishbel displays a towering symmetry. The bottom-up view leads the eyes to the smooth colors of wood and rock before reaching the sparkling summit.
Harris named this view Mountain Form without locating it, so confirming that he has met his ineffable truth. In a more Humboldtian approach, the title later became Mountain Forms. This oil on canvas 152 x 178 cm was sold for CAD $ 11.2M from an estimate beyond CAD $ 3M by Heffel on November 23, 2016, lot 118 subject of a dedicated press release.
The artist continues his philosophical quest and his hiking. Mountain and glacier, oil on canvas 74 x 89 cm painted in 1930, was sold for CAD $ 4.6M by Heffel on November 26, 2015.
1926 Hilltop by Parrish
2022 SOLD for $ 6.7M by Christie's
Away from the artistic trends, Maxfield Parrish is now recognized as the pioneer of fantastic art. Professional illustrator of children's books, prolific author of posters and calendars, he uses a sharp line and bright colors to evoke fairy themes.
Daybreak, executed in 1922, is his biggest hit, a favorite image of Americans to whom it provides an idea of paradise.
The artwork is carefully composed according to the Golden ratio. In the background, the light of dawn bathes a landscape of mountains. In the foreground, between two big endless columns, two maidens wake up. One of them, recumbent, is dressed in a light coat like the antique Greeks. The other is standing, and leans over her friend. She is nude. The mountain is a view over the upper Connecticut river near the artist's home.
The original picture was prepared with a glazing technique that provided a luminous surface. The paint had been applied from the tube in multiple layers over a white ground.
This oil on board 67 x 114 cm was sold for $ 7.6M by Christie's on May 25, 2006. Coming back in the same auction house on May 20, 2010 on occasion (as gossiped) of the marital problems of a filmmaker, it was sold for $ 5.2M. The image is shared by Wikimedia.
The artist desired to reiterate the unprecedented success of his delightful Daybreak of 1922. Hilltop, conceived in 1926 in a similar technique and theme, is another staging of two young women in a quiet intimacy in a paradisiac landscape.
In the golden light of a late afternoon, the innocent girls take a rest in a contemplation of nature in the variegated shadows of a big oak. The models were the daughters of a friend. In the opposite of the Sapphic daybreak, there is no nudity. A special care was brought to the harmonic balance of the composition.
This oil on panel 91 x 56 cm painted and copyrighted in 1926 was sold for $ 6.7M from a lower estimate of $ 2M by Christie's on November 9, 2022, lot 47.
Hilltop was edited as an image in three sizes.
Daybreak, executed in 1922, is his biggest hit, a favorite image of Americans to whom it provides an idea of paradise.
The artwork is carefully composed according to the Golden ratio. In the background, the light of dawn bathes a landscape of mountains. In the foreground, between two big endless columns, two maidens wake up. One of them, recumbent, is dressed in a light coat like the antique Greeks. The other is standing, and leans over her friend. She is nude. The mountain is a view over the upper Connecticut river near the artist's home.
The original picture was prepared with a glazing technique that provided a luminous surface. The paint had been applied from the tube in multiple layers over a white ground.
This oil on board 67 x 114 cm was sold for $ 7.6M by Christie's on May 25, 2006. Coming back in the same auction house on May 20, 2010 on occasion (as gossiped) of the marital problems of a filmmaker, it was sold for $ 5.2M. The image is shared by Wikimedia.
The artist desired to reiterate the unprecedented success of his delightful Daybreak of 1922. Hilltop, conceived in 1926 in a similar technique and theme, is another staging of two young women in a quiet intimacy in a paradisiac landscape.
In the golden light of a late afternoon, the innocent girls take a rest in a contemplation of nature in the variegated shadows of a big oak. The models were the daughters of a friend. In the opposite of the Sapphic daybreak, there is no nudity. A special care was brought to the harmonic balance of the composition.
This oil on panel 91 x 56 cm painted and copyrighted in 1926 was sold for $ 6.7M from a lower estimate of $ 2M by Christie's on November 9, 2022, lot 47.
Hilltop was edited as an image in three sizes.
